122: Week-11 Assignment
Name: ________________________
1
FOUR-PART WRITING:
- Create a four-part progression (either in chorale or keyboard style) with proper voice-leading based on the given information.
- The soprano line should begin on the scale-degree indicated above the treble staff.
- Add appropriate Roman numerals but do not add any extra figures!
- Label the keys and the cadences.
Submediant harmonies:
Close the following two progressions (a) and (b) with a deceptive cadence.
a)
b)
## 4 & ## 4
& 4
{
?# 4
? ### 4 ˙˙
4
Key: ___
Key: ___
œ b b œ4œ
&œ 4
{
I
I
b4
& bbb 4
& 4
? 4
? bbbb 4 ˙
4˙
{
w
Key: ___
Key: ___
w
œ œ
œ œ
o6
i
i
7
7
5
o6
5
? bb 4
œ œ
œ
œ The following two progressions 4(c)˙and (d) should
include a “descending-third” progression.
Key: ___
c)
o6
i
7
d)
5
b 4
& bbb bb 4
& 4
? b b 4 ˙ œ # # ˙ ˙
? b b b 4 ˙ &œ #œ 44 ˙ ˙
b4
œ
7
Key: ___
Key: ___
6
7
Key: ___
Key: ___
6#
? ## 4 ˙ œ œ œ œ ˙
œ œ ˙ ˙
4
{
6
#### 4 #
& 4
& # 4
?# # 4 ˙
? #### 4 ˙
4
{
{
œ œ œ œ ˙˙
œ œ œ œ
6- 5
4- 53
64- 3
7
Key: ___
Secondary
dominants
(applied chords): 4- 3
The following progression includes secondary dominant
(applied) chords. Make sure to include appropriate
6- 5
#4
#
& 4
& 4
{
accidentals in your progression.
#4
& 4
{
?# 4 œ
4
œ
H
œ
?# 4 œ œ
? # 4 œ œ œœ
4
H
H
œ
œ œ ˙
#
œ
œ
#
#
œ
œ
œ
œ
˙
˙
122: Week-11 Assignment
Name: ________________________
Modulation:
The following progression should begin in a minor key and modulate to its relative major by m. 4
-
2-
The bass is unfigured. i.e., You are to determine the appropriate chords and their positions and
label them with Roman numerals and figures accordingly.
Make sure to include necessary accidental(s).
Remember to label the pivot chord clearly. (A pivot chord belongs diatonically in both keys.)
The structure of the four measures should be modulating “parallel period.” i.e., m. 1 and m. 3
should be set the same way, and m. 2 and m. 4 would end with cadences in two different keys.
The cadences in m. 2 and m. 4 should both be PAC in their respective keys.
-
4
&b4 œ œ œ œ
{
œ œ ˙
œ œ œ œ
œ œ ˙
?b 4
4
ANALYSIS: Provide a Roman-numeral analysis for the excerpts. Label the key and the cadence.
2
122: Week-11 Assignment
Name: ________________________
3
!"#$
"
Species
counterpoint
Third species: counterpoint “below”
Direction:
counterpoint to thegiven cantus
firmus.
- Compose a third-species
- Label all the intervals by their sizes in the space between the two staves.
- Circle all the dissonances used.
Things to keep in mind:
- The only types of dissonance to be used in third species are “passing” and “neighbor” tones.
- NO suspensions to be used. (No repetition of a note with or without a tie.)
- A dissonance can only be approached and left by a step. The ONLY two situations in which you
can apply an exception to this rule is if they are used properly in either a “double-neighbor” or
“nota cambiata” figure.
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- When using a double-neighbor figure, it should be labeled as “DN” and when using a not-cambiata
figure, it should be labeled “NC.”
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